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The relationship between physical and virtual spaces is being completely redefined. Reality alone is no longer a clear enough label for the things we encounter. Digital technologies have created a rich hybrid of virtual and real environments, and as architects, we are confronted with a whole set of new tools for envisioning the spaces of this mixed reality. We must now create and design the spatial conditions to inhabit these new experiences and enhance the qualities of both worlds.

Intermediate 11 has already travelled to far-off destinations – exploring alternative techno-activism in emerging countries like South Africa; hedo-nistic countercultural territories in Goa or Ibiza; and radical touristic lands-capes in Lanzarote. This year, the unit will work once again as a virtual tourist agency, working in controversial environments, moving from the hypernatural environment of Lanzarote to a toxic one. Our site, the vast open mines of Río Tinto, in Andalusia, is one of the world’s most radical examples of toxic landscapes and a perfect ground for testing new forms of tourism. The mines coexist with delicate ecosystems, like Doñana Na-tional Park, and traditional rituals involving colourful religious pilgrimages like romerías. Both contexts, being deeply involved in touristic networks, offer the unit a unique backdrop for observation and research.

This year’s ‘Total Immersion Tour Operator’ agency will explore new ways of perceiving, inhabiting and enjoying these synthetic ecosystems. The unit will address the role of tourism within a polluted environment, and how virtual reality can play a fundamental part in reimagining ways of in-habiting the toxic.

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TECHNO-TOURISM

Tourism is one of the most rapidly expanding global economies that in-volves human experience, technology and territory. And its trends are developing at the same speed. If two decades ago the options revolved around the sea, mountains or urban tourism, now the options have multi-plied with its democratisation and specialisation: adventure, luxury, expe-rience, peer-to-peer, wellness, culinary, medical... and responsible tourism in all of its guises, from ecotourism and indigenous travel to voluntee-rism. But new trends are also evolving in disaster and toxic space tourism, which will be at the core of this year’s programme.

All of these ways of knowing “the other” – either places or humans – are configured by the geographical, climatic, cultural or historic conditions of their territories, and are also sensitive to wars, political instability, oil pri-ces, or climate change, as recent events in Algeria, Jordan or the US have demonstrated. Yet, they are also transformed through technology: the in-ternet has individualised the search for alternatives, airline competition has broadened the range of available destinations and reviews on social media sites have transformed tourists into critics. We ask: how does virtual reality affect and constitute techno-tourists? How do their physical and virtual experiences co-constitute one another? How are landscapes and ways of knowing altered?

HUELVA, ANDALUSIA

Andalusia, besides being the South West border of Europe, is also known as the region attracting more tourists in Spain, partly due to the rich his-torical manifestations of its border condition with the African continent. It is a region with an enormous variety of outstanding landscapes and cultu-ral identities, which, intermingled with powerful rituals, configure unique ecosystems. Such a fertile variety can be found in the province of Huel-va; with environments of great ecological value, such as Doñana National Park, or the beautiful coastal geography, one of the best places for sun and beach tourism. And this is where the unit will land this year.However, we will use this context as a background to research the existing contrasts with the actual industrial exploitation of the landscape: the pro-vince of Huelva is also rich in mineral resources and known because of the largest open mine in Europe, Río Tinto, which has transformed the lands-cape and polluted parts of it. In such a controversial context arises the op-portunity to explore how to inhabit toxic landscapes, through hybridising the use of new observation technologies in order to define new forms of environmental (and even toxic) tourism.

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NEW TRIP DESTINATIONS: MARTIAN-LIKE TOXIC LANDSCAPES

Río Tinto is a Martian-like environment and has attracted the interest of NASA astro-biologists, because it is home of the world’s most acidic river, Río Tinto. This scenario creates the frame to understand the unit’s inter-ests, exploring the idea of the techno tourist as a hybrid personality bet-ween a passive observer and a scientist engaged with nature, investiga-ting proposals that, coming from classic nomadic touristic references like camping, are also inspired by the Whole Earth Catalogue, countercultural techno-settlements and other radical architectures like The House of the Century. The House of the Century worked as a lunar station where Ant Farm crea-ted a whole system for environmental observation. Through new recor-ding devices, Ant Farm designed an editable narrative process where the users were capable of creating their own audio-visual version of the ecosystem. This year our “nomadic touristic stations” will operate in the same way. From a privileged position, strategically located in this particu-lar enclave surrounded by mines, our stations will contemplate the toxic landscape, creating new forms of perceiving and inhabiting the mines, going from their radical three dimensional atmosphere to their virtual im-mersive version.

Our understanding of the toxic, however, will not be restricted to chemi-cal concentrations, but will take into consideration and engage with the complex assemblages of bodies, politics, institutions, infrastructures, and everyday practices that constitute toxic environments. Through our pro-jects, we will explore forms of inhabitation through restoration, overlap, protection, coping, remediation, etc.; redefining at the same time what tourism, the toxic and their interrelation could become in the future.

PROPOSAL: OBSERVING LANDSCAPES DEVICES

As the first Tour Operator ambassadors, students will research Huelva’s geographical, social and environmental conditions, as well as new trends in tourism, virtual reality and forms of inhabiting the toxic -including science, fiction, art, sci-fi, etc.- in order to construct a critical response to both the brief and the site, and to propose a topic and location for their Touristic Stations. They will prepare the virtual description of where, what and how the settlement could be and its relation with the toxic. Simulta-neously they will produce a set of big 360º colourful collages with the first

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spatial proposals of VR landscapes.

The field trip will be the moment at which the Tour Operators confront the physical experiences in Huelva. The students will document their site and their immersion in it by means of 360º images, videos, and a field trip handbook that will gather sketches of the development of the proposal.

Once back in the Tour Operators’ Headquarters, the students will deve-lop accurate and better versions of the 360º collages to be integrated and shown through a cardboard visor/helmet.

Outputs:

-1 ‘Experiential Landscape’. 45x150cm colourful 360 perspectival collages.-Tourist/site map. It will be portfolio size and foldable and will be used du-ring the fieldtrip as a navigational document. -Research booklets, in A4 format. -Physical prototypes of 360º cardboard visor/helmet, for a spherical im-mersive experience.

Term 1 Skills & Tools

- Reading abilities: comprehension and communication of theoreti-cal and architectural texts.- Reading abilities in terms of maps and geographical information.- Spherical Photography: Use of devices (Theta camera) and asso-ciated software/apps to get immersive pictures.- Personal research skills.- Strategies for working with digital technologies and translating on 2D images and digital spatial experiences.- Drawing techniques to communicate ideas more effectively gra-phically.- Rhino.

Acidic River Rio Tinto

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Calendar:

Week 1: 26th September *** Intermediate Unit Introduction (Manuel, Nacho and Nerea) Intermediate Unit Interviews. First Meeting - presentation of the brief and description of the first hand in.

Week 2: 4th October- TALK on Deep Andalusia: rituals, countercultures, activisms. - TALK on Virtual Reality. Potentialities and critique of the virtual - TALK on Toxic landscapes

Initial research on Toxic/tourism/Andalucía into the Booklet. Readings dis-cussion and site selection into the Booklet and tourist/site map.

Week 3: 11th October - First 360º collages

Week 4: 18th October WORKSHOP . 2d and 3d-modelling.

Week 5: 25th October *** WORKSHOP. Immersive Collages (Nacho Martin) Trip preparation. Project research and development plan of the site. Week 6: 2nd November OPEN WEEK. Trip to Rio Tinto/Huelva/Andalusia Site visit and registration, field trip notebook production. Week 7: 8th November Development

Week 8: 14th November Development

Week 9: 22th November *** WORKSHOP. 360º Perceptual Helmets. (Nacho Martin)

Week 10: 29th November Pin up/jury

Week 11: 7th DecemberPortfolio check -

Week 12:14th December*** 13th December final jury and Immersive Devices Presentation (Manuel Collado and Nacho Martín)15th December. Christmas Party.

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CAMPS FOR TECHNO-TOURISTS

Different expressions of temporary colonies have emerged, from ancient nomadic tribes, to massive music festivals, and refugee camps or projects optimized to explore remote planets. Pop-up cities produce a different kind of subject and unconventional types of life. Migrants and tourists share occupational techniques with activists and pilgrims. Benjamin La-trobe wrote that the camp is a combination of a formalized religious expe-rience and the relatively unstructured space of the campground. This ur-banism based on displacement has had multiple case-studies in modern Architecture history.For instance, Constant Nieuwenhuis´ New Babylon was inspired by the in-formal growth of a gypsy camp. He considered the settlement as an archi-tectural setting and a utopian social model in which to imagine a society free of the constraints of the nation-state, an egalitarian society who-se members could devote themselves to the exercise of freedom. In the same vein, a decade later, Archigram designed projects like Walking City or Instant City where a set of infrastructures provided cultural and enter-tainment possibilities to the outskirts, supported by the most advanced media and sci-fi wearables.This type of ambulant project forces architecture to reconsider its traditio-nal formats. Recently, the architectural manifesto The Tokyo Nomad Girl by Toyo Ito used make-up mirrors, the smallest frames for resting and in-formation technology as the essential means to deploy a contemporary habitat.Global statistics point out that the floating population model is not an iso-lated urban case. The philosopher Paul Virilio´s message is clear and radi-cal: Forget the INSTANT CITY that the English futurists imagined. What de-velopers now have in mind is a NON-STOP CIRCUS, a long-haul cruise for the exiles of outsourcing… It is a PORTABLE REVOLUTION

‘ROMERÍAS’ /PILGRIMAGE

The unit has always worked in cultural contexts with strong public de-monstrations of their customs, from the island of Ibiza with its festive ri-tuals, through the traditions of India infiltrated by the counterculture in Goa, to the tribal rites in South Africa. This year Andalusia offers an op-portunity to explore the material and social organizations of their public

Doñana Beach, Huelva

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nomadic liturgies, processions, pilgrimages and fairs, which are an unde-niable source of inspiration to create a new version of tourism, hybridized with the toxic landscapes of Rio Tinto.The nomadic condition of the romería; (a pilgrimage practice whe-re people travel either on foot, on horseback or in horse-drawn carria-ges, and ends in a sanctuary) will help us to re-imagine different touristic approaches to the vast open mine. Movement and technology can play a role in redefining our relationship with the polluted environment. We will generate immersive trips in the strong three-dimensional background of Rio Tinto, combining virtual reality, the informational, and everyday prac-tices.

OBSERVATION OF THE POLLUTED

The unit will redefine a new tribe of travellers. This typology of techno-tourism will set out a group of physical and technological devices for ob-servation. The camp will be operated as a station in the martian-like envi-ronment, as a portable structure equipped with perceptual instruments to experience the outer world: from mobile systems to record-like drones, rovers, or submarines, to optical gadgets and filters incorporated in the ar-chitectural components. We will take another look at case studies like the Truckstop Network from Ant Farm, who defined a whole network of “me-dia eyes” to record the new visions of western America. With such a bac-kground, the tourist-user, as an astronaut, will navigate through heavens, volcanic landscapes, and acidic rivers, adding an augmented perception via virtual technologies. We will understand architecture as an opportuni-ty to redefine the typologies of traditional camping associated with uni-que touristic enclaves, adding qualities and enriching the displaced virtual experience.

VR

We can confirm that today we spend more time navigating digital spaces than experiencing real ones. One field after another -music, finance, cultu-re, etc. - has found its equivalent in the digital world. The libraries that we visit most frequently are not buildings filled with publications on paper; they are our personal libraries online with a capacity for almost infinite books. Architectural typologies have their digital translation but miss their

New Babylon. Constant

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spatial attributes. Just as in the book Flatland, a tale about a planet inhabi-ted by 2D shapes, we are living in a flattened world designed by program-mers.And Virtual Reality can provide spatiality to that digital daily experience. 2016 has been ‘the year’ for this technology, and from multiple media it is described as the definitive platform that is going to transform our domes-tic habits. The main current powers, Facebook, Samsung, Sony, HTC… are investing spectacular budgets and talents in this area. Putting the VR pair of goggles on, you are placed in the centre of a com-pletely new spatial situation. You can look all around, move along the spa-ce, interact with your environment… that phenomenological sensation of being immersed is defined by VR pioneers in existential terms: “presence”.It’s obvious that video games will be the first field to appropriate this per-formance. But we are seeing that thanks to its highly emphatic properties it is starting to be used by contemporary artists like Chris Milk or FIELD for different goals.New architectural designs under virtual rules are to be made: spaces to amplify our senses, to enhance our daily life experiences, new architectu-ral images with neither gravity, nor up or down...they enable the creation of infinite landscapes. As in previous years, we will explore the tension between VR and physi-cal environments, exploring what one can do in relation to the other. How do they expand, complement, put into question, unfold or intensify each other’s capacities?

PROPOSAL: THE CAMP/ THE STATION This will be the main term to develop the core of the project and the por-tfolio. The students will work in parallel, developing the physical defini-tion of the camp and the virtual experience at the same time.

The Station/Camp is a shelter for travellers to connect with the world that surrounds them. It will contain individual and collective gathering spaces, that will at the same time be observatories; mobile architectures to watch, experience and inhabit specific landscape areas of the site.

The “Virtual romería” can be defined as an experience to expand the ways to inhabit the landscape. It is designed in VR and can be visualised with the Samsung Gear platform or equivalent devices.It should contain:- A virtual camp environment that enables the transformation, ex-perience or understanding that the physical camp may not allow for. - Eventually, virtual toxic data-scapes

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Calendar:

Winter term 2016.9th January to 24th March

- Week 1: *** Workshop “VR. Unity software. Samsung Gear transfer by Nacho Martín and Fernando Gomez.- Week 2: Presentation of the exercise TS discussions with 3rd years - Week 3: Pin-up - Week 4: Workshop pin-up with Collin Ellard, about architecture and VR.Talk and conversation with Oliviu Lugojan from Universal Assembly Unit. www.universalassemblyunit.com- Week 5: OPEN WEEK. *** Visit to VR Ofices: FIELD Studio. Digital artists, VR developers. (Nacho Martín) - Week 6: Intensive TS production for 3rd years Tutorials on the Physical camp and portfolio for-mat- Week 7: Tutorials on the Virtual experience – Unity formatSkype Tutorials on Unity with Fernando Gomez (Madrid)- Week 8: Intensive drawing week Term 2 Final Jury- Week 9: *** Portfolio check - VR project on the portfolio (Nacho Martin) TS Interim Jury 2nd Year Preview tables- Week 10: 3rd year Preview tables Term 2 Final Jury- Week 11: 3r year Submissions Hand-In

Term 2 Output

PORTFOLIO DRAWINGS (mínimum requirements)

Physical Camp:

PROGRAM:-Sleeping units. -Gathering space.-Space for toxic observation/research/experimentation, etc.-Showers

- 1 Experiential Landscape of the physical proposal. 45x150cm colo-urful 360 perspectival collages.

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- With the same format, the Experiential Landscape will be split into different layers, explaining with detail, at least, the following aspects of the project: - 1. Material system of the different components- 2. Engagement with the toxic.

- 3. Relationship of the station to the cultural context. Drawing ex-plaining how the building can be self-sufficient or sustainable in terms of energy and infrastructure.- 4. Kit of parts used to build the different structures

Virtual Reality:- 1 Experiential Landscape of the VR proposal. 45x150cm colourful 360 perspectival collages.- With the same format, the Experiential Landscape will be split into different layers, explaining with detail, at least, the following aspects of the project: - Map of the digital experience. Content and topological organiza-tion.- Interactions provided in the virtual experience.- Engagement with the toxic. - Draft of the VR experience with the goggles.

Term 2 Skills & Tools

- Drawing techniques to communicate ideas more effectively gra-phically- The use of Virtual Reality headset and gaming device Samsung Gear.- UNITY: an interactive tool for video game development, immersi-ve architectural visualizations and interactive media installation.- Technical understanding of how the building is put together- Strategies for working with digital technologies and translating on paper drawings digital spatial experiences

Violescence. FIELD.

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IMMERSIVE TOUR:

This type of tourism with a virtual goal will require new forms of visual editing, so during the year the unit will become a laboratory of visual ex-ploration, using innovative image protocols to translate the specificities of our site into a broader touristic experience to be shared globally. The third term will finalise these formats, understanding the portfolio as a new opportunity to render the 3D immersive world into 2D formats. Accom-panying the VR devices we will simultaneously launch a video version or browseable interfaces to operate with the final architectural proposals, which will be able to communicate the results to a broader audience.

CATALOGUE/PORTFOLIO

The catalogue is the technical format associated with technological pro-ducts from its first black and white standardised versions. Yet the catalo-gues made during the 1950s started to incorporate graphics, a sense of colour and thoughtful layouts that engaged their audience. Then in the 1960s another version of catalogue arose, black and white again, but loo-king for a cheap and a planetary expansion, the Whole Earth Catalogue; this edition from Steward Brand was a perfect balance between the latest technologies and environmental knowledge. With these references this year our updated catalogue will shift to a multi-layered large drawing con-taining the different ingredients of the portfolio, which will be capable of being detached in independent A2. It will be an ideal portfolio format sin-ce it will contain self-explanatory drawings and instructions on how the low impact camp is built, starting from the landscape data and how this structure has a wider impact on the local community and the landscape.

Calendar:

Spring term 2016.24th April to 23rd June- Week 1: 3rd year TS Final Submission, 2nd year ***VR Tutorials (Nacho Martín)- Week 2: PORTFOLIO REVIEW for 2nd and 3rd year studentsTS High Pass/ Low Pass Jury*** Immersive Videos Session. (Nacho Martín)- Week 3: Preparing the media show, Rehearsals 1 - Week 4: Media editing supervisors- Week 5: Undergraduate Jury Weeks - Final Jury (week 5)

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Inter 11 Students work: Emily Hayden Shereen Doummar Petro El-Hage

Petro El-Hage

- Week 6: Portfolio check and presentation rehearsals 2- Week 7: 2nd year final tables- Week 8: 3rd year Part I check2nd years to start work on exhibition-Week 9: RIBA External Examination (3rd year) End of year exhibition

Output:VR Samsung Gear+ Video: Final VR immersive interaction + Video displa-ying the journey through the spaces.Portfolio, Combining big 360º Catalogue format with minimum content of:

- Drawings and images showing how the structure is inhabited and used.- Long-term impact of the context, and consequences for the ecosystem.- Renders and images of the final proposal/ model.- Details of how the building is assembled, joints, components etc.

Term 3 Skills & Tools

- Drawing techniques to communicate ideas more effectively gra-phically- The use of Virtual Reality headset and gaming device Samsung Gear.- Video editing- Technical understanding of how the building is assembled and di-sassembled- Abilities in oral presentation

Water Pod. Emily Hayden Inter 11 Virtual Museum. Mi5VR

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The Technical Studies will look at temporary structures for a specific loca-tion on the mine; the structures will work like spaceships or nomadic ar-chitectures that touch the ground lightly. The portable station will be an opportunity to choose a field of research implying the relation with the polluted and the possibility of inhabiting a difficult milieu.The Technical Studies proposals will always examine the perception insi-de-outside:- Research materiality of the surfaces.- How the materials/effects relate to the senses.- How the shelters/filters become observation devices to amplify percep-tion.- Kit of parts.- What will the impact of these settlements be in the future?- Testing how this perception affects the body.- How it can be self-sustainable in terms of energy?The TS submission will be an extension of the portfolio and will be a cru-cial part of the portfolio/catalogue as a self-explanatory guide of how to build your portable architecture and its effects on the new version of a touristic tour. Other important precedents will be stage sets, pavilions, plug-in architecture, and digital installations.

References:

Ant Farm: House of the Century Truckstop Network

Diller & Scofidio: The Slow House

Archigram: Instant & Plu-In City

Constant Nieuwenhuis. New Babylon

Recetas Urbanas (Santiago Cirujeda)

House of the Century. Ant Farm instant City. Archigram

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Theory:Easterling, Keller. Extrastatecraft: The Power of Infrastructure SpaceEllard Colin, Places of the Heart: The Psychogeography of Everyday LifeKholeif, Omar Ed. You are here, Art after the internetJaron, Lanier. You are not a Gadget. A Manifesto and Who owns the futu-re?Fuller, R. Buckminster & Jaime Snyder. Operating Manual for Spaceship EarthIto, Toyo. Tarzans in the Media ForestMcHale, John. The Future of the FutureMcLuhan, Eric. Essential Marshall McLuhanOrtega, Lluis: Digitalization takes command.Lucy R. Lippard, Undermining: A Wild Ride Through Land Use, Politics, and Art in the Changing West

Architecture, art and technology:Borasi, Giovanna and Zardini, Mirko. The medicalization of architectureBrand, Stewart. Whole Earth Catalogue, wholeearth.comBurns, Jim. Arthropods. New design futures.Gordon, Alastair. Spaced Out: Radical Environments of the Psychedelic Six-tiesHollein, Hans. Hans Hollein, Design: Man transforms : Concepts of an Exhi-bitionNeutra magazine Nº 16: “Ciudad ¡Fiesta!”Mitchell: City of BitsMVRDV: Costa IbericaRinzler, J.W. Star Wars: The BlueprintsSchwartzmann, Madelaine. See yourself sensing. Redefining human per-ceptionScott, Felicity. Ant Farm, The living Archive 7Shaoqing, Wang. New Portable Architecture: Designing Mobile & Tempo-raryStructuresVirtual House (Any Magazine 19-20)

Ready Player One. Ernest Cline Media Van. Ant Farm

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Warrick, Patricia. The Cybernetic Imagination in Science Fiction

ToxicMurphy, Sick building syndromeToxic Tourism: Rhetorics of Pollution, Travel, and Environmental JusticeDisasters and Politics: Materials, experiments, preparednessSpacesuits, Nicolas de MonchauxVolume #46

Toxic Expertise blog: https://toxicnews.org/Narrative:Alexievich, Voices of Chernobil (mandatory)Cline, Ernest. Ready Player One

Narrative:Alexievich, Voices of Chernobil (mandatory)Cline, Ernest. Ready Player One

Film:Mad Max, Fury of Road (2015)Destination Moon (1950)2001: A Space Odyssey (1968)Star Wars (1980)Blade Runner (1982)Jodorowsky’s Dune (2013)The Lord of the Flies (Brook, 1969)

Techno-tourist from Himalaya

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Manuel Collado Arpia and Nacho Martín Asunción are founders of the Madrid-based office Mi5VR

-Virtual and Real Architecture-. They have won and built several competitions, and their work has been

published in a range of media such as Dezeen, Icon, Mark and El País. Since 2003 they have taught at various

institutions including the Architectural Polytechnic Universities like: UAH Madrid, UA Alicante and UCJC

Madrid, beside AA Summer School, Digital arts and Experience Master Program and Fashion Design at IED

Madrid. They have also participated in several juries, lectures and exhibitions such as the Venice Biennale,

RIBA London, IVAM Valencia and GD-NYU. They both obtained their PhD at ETSAM Madrid in 2013.

Nacho Martin will lead the VR production through specific monthly sessions as a Consultant.

Youth Center in Rivas (Madrid). Mi5 VR. Polivagina (Murcia). C+ Architects

–—mi5 architects.|||||

Nerea Calvillo is an Architect, lecturer, researcher and curator. The work produced at her office, C+

arquitectos, and her visualization projects like In the Air have been presented, exhibited and published at

international venues. She has taught at the UEM, Alicante University, the Architectural Association and the

GSD Harvard University. She is currently a Poiesis Fellow (NYU), Medialab-Prado´s curator of the Connecting

Cities Network European project on Media Facades and Teaching Assistant at the Centre for Interdisciplinary

Methodologies at University of Warwick.

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